This is a 1992 study of writing of the seventeenth and eighteenth centuries, mainly in France, but also in Britain and Russia. Its focus is on the establishing and questioning of rational, 'civilized' norms of 'politeness', which in the ancien régime meant not just polite manners, but a certain ideal of society and culture.

In lieu of an abstract, here is a brief excerpt of the content: Classics and Complexity in Walden’s “Spring” M. D. USHER In 1843, two years before Henry Thoreau built his cabin at Walden Pond, the Fitchburg Railroad laid down tracks through the woods near the Pond for its line connecting Boston to Fitchburg. The original Fitchburg Line, at 54 miles long, was, until 2010, the longest run in the present -day MBTA Commuter Rail system. And it is one of (...) the oldest railways in New England. By 1900, fortunes swelled and the Fitchburg’s Hoosac Tunnel Line took passengers and goods westward toward Chicago. The Lake Champlain Route connected Boston to points north like Burlington, Vermont. (See Figure 1.) arion 27.1 spring/summer 2019 Figure 1 (left): Advertisement for the Hoosac Tunnel Route in The New England Magazine (Vol. 21, Issue 6, February, 1900). Figure 2 (right): Herbert Wendell Gleason. The Fitchburg Railroad and Walden Pond in winter, Concord, Mass., March 24, 1920. Courtesy Concord Free Public Library. The Railroad was literally a fixture in Thoreau’s landscape. Its tracks pass remarkably close to Walden Pond (Figure 2), and the Fitchburg Line—both its reality and the specter of it—is practically a character in his writing: “I usually go to the village along its causeway, and am, as it were, related to society by this link,” Thoreau writes in “Sounds,” a chapter of Walden that contains what must be one of the most picturesque odes (or laments) to rail travel and commerce in all of American literature: The engine’s whistle, Thoreau complains, pierces the still silence of his idyllic retreat like a screaming hawk circling a farmer’s field, its billows of steam an ominous harbinger of “this travelling demi-god, this cloud-compeller.”1 Thoreau’s frequent, customary walks into Concord along the railroad tracks took him through a heavily excavated stretch of the line known as the Deep Cut, to which he returned again and again each year in early spring, even after leaving the cabin, to observe and to record his observations. The leaf-shaped sand flows and trickling surface erosion caused by melting frost in the banks of the Deep Cut are elaborately described in Thoreau’s chapter in Walden entitled “Spring,” what Laurence Buell calls the “high point of Thoreau’s epic.”2 And yet, in spite of the universal acclaim of this passage as a literary tour de force, it has not received the full attention it deserves. What warrants fresh consideration first and foremost is “Spring”’s deep-rootedness in classical sources. Many classical influences, allusions, and a good deal of etymological word play have gone so far unnoticed. The chapter is also important because it describes, by intimation, what contemporary scientists now call emergence. Emergent phenomena are properties or behaviors that arise in systems as a result of complex, dynamic interactions amongst constituent parts, including changes to a system brought about by human interventions3—not only, e.g., climate change and wildfires, but also traffic patterns and terrorist networks; kidney function in the body; the rings of Saturn. As he tries to capture the essence of the 114 classics and complexity in WALDEN’s “spring” Deep Cut and interpret its significance, Thoreau adumbrates this concept, but also grapples ingeniously with broader issues of perennial concern—the relationship of Nature to Culture, for example, of Wilderness to Civilization, of Science to the Humanities—making “Spring” not only a probing work of eco-criticism and environmental philosophy, but of scientific reflection and poetic experiment as well. In short, Thoreau’s “Spring” is that rare work of classical reception that transmits both literary and scientific insight. Perhaps at this point, in lieu of accolades, it is best to let Thoreau start speaking for himself. What I offer in the following pages is a commentary on the Deep Cut passage from “Spring.” Classical references and aspects of systems theory will be explained and contextualized as they emerge, as it were, from Thoreau’s text. The whole chapter corresponds to pages 289–308 in Cramer’s edition of Walden—26 paragraphs all told, of which only the relevant ones are printed and annotated here. (Transitions and extraneous material are briefly summarized, as needed, in paraphrase... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:When an Arab Laughs in Toledo: Cervantes’s Interpellation of Early Modern Spanish OrientalismE. C. Graf (bio)My purpose has been to place in the plaza of our republic a game table which everyone can approach to entertain themselves without fear of being harmed by the rods; by which I mean without harm to spirit or body, because honest and agreeable exercises are always more likely to do good than harm.—Miguel (...) de Cervantes Saavedra, Prologue to Novelas ejemplares [my translation]We are engaged in a technical enterprise at the species scale.—Jacques Lacan, “L’agressivité en psychanalyse” [my translation]While I was all intent on watching him, he looked at me, and with his hands he spread his chest and said: “See how I split myself!”!—Dante Alighieri, Inferno 28.28–30 Click for larger view View full resolutionFigure 1.Sandro Botticelli, The Virgin and Child (c. 1490). Courtesy of the Fogg Art Museum, Harvard University; ©1999 President and Fellows of Harvard College. Click for larger view View full resolutionFigure 2.Salvador Dalí, Dream Caused by the Flight of a Bee around a Pomegranate One Second Before Awakening (1941). Courtesy of Museo Thyssen-Bornemisza, Madrid; ©1999 Artists' Rights Society (ARS), New York.For much of this century, Hispanists have labored in an effort to elevate Miguel de Cervantes Saavedra’s El ingenioso hidalgo don Quijote de la Mancha (1605, 1615) to the coveted status of the “first modern novel.” Today this kind of criticism may strike our postmodern sensibilities as a rather traditional enterprise, the kind more interested in establishing an elite hierarchy of literary tastes than in saying anything new about an author or text. For many, the study of literature is still an aesthetic beauty pageant in which “great books” like Laurence Sterne’s Tristram Shandy (1767) or Marie de la Vergne de La Fayette’s La princesse de Clèves (1678) are paraded across the stage in a contest to seduce the Western intelligentsia. 1 The postmodern student of literature may not have much concern for this age-old territorial contest, but she might be interested to learn that the fallout from Hispanism’s quest for the “first modern novel” has involved so much attention to, indeed complication of, Don Quixote, that the book now resembles more a postmodern text than an early modern one. At the turn of the century, we have been left with what Jorge Luis Borges would recognize as an “aleph”: an infinite ideological labyrinth that reflects and/or cannibalizes all forms, thereby escaping all attempts [End Page 68] to describe it. 2 Whatever we currently mean by “Cervantes” (an author, a collection of texts, an ideological construction, and so forth) carries with it an impressive range of critical responses. Cervantes has been labeled converso (Castro, Canavaggio), Christian humanist (Castro, Bataillon, Forcione, Herrero, Vilanova), disillusioned secularist (Lukács, Cascardi), precapitalist (Johnson), anti-essentialist (Wilson), anti-Eusebian (Presberg), Menippean (Bakhtin), feminist (El Saffar, Rabin, Cruz), sadist (Nabokov), ethnocentric imperialist (Mariscal), medieval (Gorfkle), homophobic (Martín), non-organicist Aristotelian (Read), and either discursively or actually homosexual (Combet, Rossi, Smith, Arrabal). This list is nowhere near complete, but the reader will grasp the robust effects of the plurality of perspectives on Cervantes.Each of these interpretations is valid to varying degrees within various contexts, but at present I am interested in reading Cervantes as the author of a multicultural manifesto on behalf of the Moriscos of Southern Spain. 3 Within the contexts of French Marxist philosopher Louis Althusser and Palestinian postcolonial literary critic Edward Said, materialist, postcolonial, and multicultural critiques of various forms of power and their ideologies can be seen as the fundamental propositions of Cervantes’s Don Quixote. 4 Cervantes’s ultimate orientation may perhaps be inescapably Eurocentric, but his responses to the European experience of the rise and expansion of an ethnocentric militaristic nation state are relatively centrifugal when compared to the attitudes of many of his contemporaries.In surveying some of the antihegemonic details of Cervantes’s novel, I am also interested in dispelling the popular myth of Don Quixote. Especially in the English-speaking world, and particularly in the United States, Don Quixote remains captive to a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Citizens Without Sovereignty: Equality and Sociability in French Thought, 1670–1789Patrick HenryCitizens Without Sovereignty: Equality and Sociability in French Thought, 1670–1789, by Daniel Gordon; viii & 270 pp. Princeton: Princeton University Press, 1994, $39.50.Under examination here is the early modern period in France from Louis XIV to the French Revolution when kings ruled absolutely and citizens were without sovereignty. Discarding the traditional image of the Enlightenment as the absolute (...) enemy of absolutism, Gordon, in this sense, follows Norbert Elias and Robert Darnton who treat the Enlightenment as part of an elitist and hierarchical establishment. More specifically, as his subtitle indicates, Gordon portrays the invention of a “nonpolitical polis” (p. 6), an ideological social space where, despite political inequality, citizens could practice social equality in a hierarchical régime. The rise of this “nondemocratic egalitarian ethos” (p. 7) brought with it a new cult of sociabilité, a term invented in the eighteenth century to describe the idealization of the private sphere and the practice of social equality.The first chapter, then, ties sociability not to democracy, as in the Habermasian model, but to the absolutism that stimulated it and coexisted with it. A series of five ideal types of sociability depict how men and women, members of the bourgeoisie and the aristocracy, came together—in commerce, public welfare, scientific academies, salons, cafés, public libraries, and various other social situations not protorevolutionary in character—to create a bond among equals [End Page 279] under the ancien régime. In this framework, progress and modernity are born during the absolute monarchy where sociability suggests conviviality rather than class warfare. Every major French novel of the eighteenth century supports Gordon’s refutation of De Toqueville’s surprising statement that “noblemen and bourgeois never met except by chance in private life “in prerevolutionary France” (p. 27).In chapters two and three, Gordon examines the nature of the rules of sociability found in courtesy literature and their functioning as the imagined basis of the newly invented idealized space called société. In addition to analyzing in great detail the nature and frequency of the vocabulary invented to define and describe sociabilité, Gordon discusses sociabilité in the context of natural law theory in Hobbes, Bossuet, and among others, Pufendorf, who wanted to refute Hobbes by showing that self-interest leads humans to establish stable social relations even before government orders them to do so. Holbach surfaces here too for having amalgamated the older language of politeness and the newer language of natural law. In Holbach, as in the Encyclopédie, sociability, based on egalitarian premises of natural law, is nonetheless fully compatible with the hierarchical regime. Among other things, this shows clearly that the philosophes never preached the French Revolution. Striving to eliminate the abuses of despotism and establish equality in private life was not tantamount to working for political equality and the abolition of all rank. In this same vein, Gordon paints the apolitical essence of the private sphere and, by a rigorous study of the seventeenth-century manuals of polite living, shows convincingly (this time against Elias who saw the court as a model of refined behavior) that the salon was indeed a world unto itself, independent of preexisting social hierarchies. Rejecting Paul Hazard’s conception of absolute rupture between seventeenth-century culture and eighteenth-century thought, Gordon destroys the facile dichotomy between seventeenth-century hierarchy and eighteenth-century equality and, once again, admirably depicts the compatibility of Enlightenment and absolutism.If chapters one to three underscore a certain continuity between the seventeenth and eighteenth centuries, chapters four and five explain important changes. It is not, for example, the mere preservation of the idea of sociable communication but rather its new use that is germane in understanding the Enlightenment. Now “conversation” and “civility” no longer had meaning only for an urban elite but had in fact become ideals in all philosophical endeavors including the writing of universal history. Sociable communication had become the defining characteristic of modern nations. In the fourth chapter, by analyzing in detail the works of Jean-Baptiste Suard, Gordon demonstrates the meaning that the writing of universal history in Scotland acquired within the French... (shrink)

Richly illustrated study drawing on art, literature and science to explore Victorian attitudes towards sight.

Given the obvious differences between telling a story and setting out a philosophical theory or a carefully reasoned argument, the philosophical narrative is, on the face of it, an unlikely genre. It is rendered even more problematic when we come to the philosophical narrative for children, with philosophy and children being, in the eyes of tradition, an equally dubious combination. The philosophical novels of Matthew Lipman and others constitute an existence proof that such a genre is possible, of course, but (...) the mere fact that the attempt has been made does not nullify the claim that the form is disfigured or misbegotten. Indeed, without further examination, who is to say that the philosophical narrative for children is not a mongrel as both philosophy and literature, or that it can be called philosophical only by courtesy? In what follows I remark briefly on what makes writing philosophical and then apply those remarks to the philosophical narrative for children in order to explore both the difficulties and allure of the genre. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 7.1 (2002) 124-137 [Access article in PDF] Katz's Problematic Dualism and Its "Seismic" Effects on His Theory Wayne Ouderkirk There is much to admire in Eric Katz's Nature as Subject. 1 Many aspects of his theory strongly resonate with dominant themes in environmental ethics and with my own theoretical predilections. In addition, he applies his theory to several major environmental issues (ecological restoration and the (...) Amazon rainforest, to name two), simultaneously testing it against other views and tracing out its implications. Impressive, non-ivory tower philosophizing. The array of issues he covers is impressive too, from the place of animal rights in an environmental ethic to the relation between environmental destruction and genocide; from the tension between holism and the rights of individuals to intrinsic value; from anthropo- centrism to Judaism and the environment; from the history of environmental thought to the convergence hypothesis. And more.In light of this tremendous range and of my own attraction to such of his major themes as ecocentrism, it might seem unappreciative to criticize, [End Page 124] to dissent. But despite all the positives I find in Katz's writings, I also find faults there, faults which, when pressed, cause major fissures in the whole. The central, major problem is Katz's dualism; and I think it ultimately undoes his whole theory, since it is so intimately connected with the other parts. Within Katz's own essays, there are, I think, resources to begin a reconstruction; but as with any other such effort, the first task is to discard the parts that are no longer useable. Before doing so, however, I want to review some positive aspects of Katz's theory, lest I convey the mistaken impression that my initial praise for his work is mere courtesy. The Solid Geological Features To begin with the most general: Katz's concern for, commitment to the natural world is obvious to any reader. He suffuses every essay with a determination to seek out clear and cogent philosophical rationales for its protection. More important perhaps is his obvious personal connection to that world. His references to Fire Island's deer and beaches, for example, amply demonstrate what the rest of his writings imply: that his theoretical efforts are more than armchair musings about a current philosophical issue. Katz's efforts are both professional and passionate.On a more specifically philosophical level, I regard his anti-anthropocentrism as a significant strength. Though one can, of course, be an anthropocentrist and be an environmental philosopher—Bryan Norton (1984) and Eugene Hargrove (1989) come to mind—I think Katz's arguments showing that anthropocentric views can only offer contingent justifications for protecting the environment are cogent and valid (3-11). An important part of those arguments is Katz's demonstration that different theories in environmental philosophy do indeed result in different environmental policies. In other words, Katz offers a strong counterargument to Norton's convergence hypothesis (Norton 1991), the idea that, given environmentalists' shared commitment to the environment, the various philosophical theories offered in justification of that commitment will converge on similar policy recommendations (149 ff.). I agree with Katz's refutation of that hypothesis, and I offer my critique of his theory because I think that theory's faults will ultimately undermine sound policies.Another big asset of Katz's theory is his communitarianism, the idea that we are part of an ecological community, an ecosystem, to which we have moral obligations. Not surprisingly to anyone familiar with environmental ethics, the source of this idea is Aldo Leopold's Land Ethic (Leopold 1966), [End Page 125] which has been debated, analyzed, praised, and critiqued more than extensively in the literature. Katz pretends to no originality here; he simply adopts and vigorously defends an ecocentric ethic that counts the integrity, stability, and beauty of the system—including, not incidentally, abiotic components—as central criteria limiting human interference with nature. Unlike, for example, the total ecocentrism of J. Baird Callicott's (1980) early writing, however, Katz tempers his communitarianism with another dimension, qualifying his holistic... (shrink)

This article reconstructs the forgotten friendship between Georges Bataille and the Russian émigré poet and philosopher Boris Poplavsky. Comparing their solar metaphysics, I focus on conceptions of friendship, sacrifice and depersonalisation. First, I retrace Bataille’s relationship to early Surrealis and Russian circles in interwar Paris, with a focus on his friendship with Irina Odoevtseva. I then offer a novel reading of Poplavsky’s poetry through the lens of Bataille’s philosophy, analysing a recurring motif that I call ‘dark solarity’. Uncovering a hidden (...) intertextual dialogue between Poplavsky and Bataille, I argue for Poplavsky’s lasting impact on Bataille’s anti-Icarian sun cult. Finally, my paper demonstrates how Poplavsky’s writings on solar sacrifice, excess and friendship left marks on Bataille’s vision of a solar community, embodied in the secret society Acéphale. The dialogue between Poplavsky and Bataille, I finally suggest, is a missing piece in the entangled history of Russian and French philosophy, as well as an original contribution to discourses on friendship in twentieth-century continental thought. (shrink)

Numinous spaces in British literature from William Wordsworth to Samuel Beckett -- Jesus figures in American literature from Ralph Waldo Emerson to Edward Albee -- Using Bakhtin's definitions to discover ethical voices in Solzhenitsyn and Tolstoy -- René Girard's categories of scapegoats in literature of the American South -- Hopkins's metaphysics of nature as sacred disclosure -- The book of job as mirrored in Hopkins's metaphysics -- Beckett's mythos of the absence of God.

백여 년 동안 교통과 정보 등 관련 있는 과학기술의 급격한 발전으로 인하여 사람들의 활동반경이 확대되었을 뿐만 아니라, 어느새 공간적 거리도 압축되었기 때문에 각종 문제에 대한 사유 역시 자연적으로 과거 국경의 울타리의 한계를 뛰어넘었다. 따라서 지구 전체의 일이 되어버린 ‘동고동락’에 대한 세상 사람들의 의식은 저절로 소위 ‘세계화’라는 개념으로 형성되었다. ‘세계화’ 추세 역시 저항 할 수 없는 현상이 되었다. 인류가 ‘세계화’의 시대로 나아갈 즈음, 과학기술의 발달이 가져오는 부작용이 매우 복잡해졌다. 그 중 가치관의 혼란 조성 및 도덕적 기준의 하락, 사람과 사람사이의 온정이 점점 (...) 엷어지는 문제는 의심 할 바 없이 인류로 하여금 가장 걱정이 되게 하는 것들이다. 현재 이런 그릇된 경향을 바로 잡으려면 오직 인류사회 전체가 ‘인본’적 사유로의 회귀를 호소하여 ‘인문정신’을 중시하고 사람과 사람 사이에 응당 있어야 할 ‘예의’ 구현을 실현해야지만, 사람과 사람사이의 교제에 서로 서로 존경하고 합당한 절도 있는 언행을 할 수 있게 하여, 지구촌에 살고 있는 모든 사람들로 하여금 과학기술의 발전이 가져오는 간편함과 편안함을 누리게 하는 동시에 인성의 존엄함을 유지 할 수 있고 또한 사람과 사람 사이의 따뜻한 정을 유지하게 할 수 있을 것이다. (shrink)

How does literature illuminate the way we live? Maurice Natanson, a prominent champion of phenomenology, draws upon this method's unique power to show how fiction can highlight aspects of experience that are normally left unexamined. By exploring the structure of the everyday world, Natanson reveals the "uncanny" that lies at the core of the ordinary. Phenomenology--which involves the questioning of that which we usually take for granted--is for Natanson the essence of philosophy. Drawing upon his philosophical predecessors Edmund Husserl, (...) Alfred Schutz, and Jean-Paul Sartre, Natanson paves his own way with stories and examples that themselves bear witness to how phenomenology occurs in literature. In considering such works as Samuel Beckett's Waiting for Godot, Thomas Mann's The Magic Mountain, and Franz Kafka's The Metamorphosis, Natanson shows how literature opens us to the domain of possibility and how metaphor offers philosophical power when we think about freedom and change. This book, written by one of the twentieth century's leading phenomenologists, will interest students in philosophy and in literature. They will value the work particularly for its clarification of concepts and terms that frequently emerge in the contemporary intellectual climate. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Petrarchan Love and the Pleasures of FrustrationAldo Scaglione—Think you, if Laura had been Petrarch’s wife, He would have written sonnets all his life?Lord Byron, Don Juan, canto III, st. 7As Byron ironically intimated, there is a behavioral connection between much of the literature of love and sexual frustration. What is known as medieval “courtly love” was an epiphany of idealized love. Whether self-imposed or forced restraint, it infused (...) much of Arthurian lore, the troubadours’ and then Petrarch’s lyric, and later partly merged with the Renaissance phenomenon of Platonic love. 1 But we wonder about possible historical derivation both on the cultural (literary) level and on the level of practical behavior. In other words, if taken case by case, is the similarity among cultural patterns and between literary phenomena and behavioral patterns a consequence of: 1) intertextual connections with courtly love and Petrarchism; 2) ideological circumstances similar to those which produced “courtly love”; or, inversely, 3) a broader human need that also lies in the background of courtly love? Where and how did frustration, denial, or sublimation acquire a deeper and greater value than consummation and satisfaction? Was it through religion, myth, morality, psychology, or a combination of these factors? Is this essentially an anthropological or rather a psycho-moral question? Does it originate in our perennial “nature” or in our time-bound mores?It seems safe to assume a combination of these factors. Ideals of psychologically sublimated, hence physiologically frustrated, love have an anthropological foundation and are inherent in any sophisticated cultural form. At the [End Page 557] same time, in the Western tradition they owe much to the persistence of the specific historical phenomena of courtly love and its Petrarchistic variations.Of course the folklore of love includes both satisfied and unfulfilled sorts. Jean Hagstrum’s Esteem Enlivened by Desire (1992) deals with the conjugal sort, implying consummation. He distinguishes his theme from “long-term relations that remain unconsummated, valorizing delayed or obviated climax, prolonged foreplay, ascetic discipline, traditional Platonic or Petrarchan love, or various forms of sublimation.” 2 Yet “this last... is dialectically and psychologically tied to [Hagstrum’s] main theme: it is one kind of long-term love relationship with often more than a tinge of the erotic.” 3 For Hagstrum these behavioral variations are determined by culture, since purely “natural” behavior would be more uniform and “unhistorically” steady. 4The notion that idealized desire is culture-bound finds support in Denis de Rougemont’s well-known thesis, that chivalry and courtesy are inventions of medieval Europe with no equivalent at other times and places except by direct influence or imitation: the behavior of an ancient Greek lover or a modern Japanese lover does not involve “chivalry” toward the woman. 5 For de Rouge-mont, ideal love came under the spell of what he called eros, defined as infatuation with desire itself rather than love for its natural end. Difficulties and obstacles became more meaningful than success, even to the point that, as in the story of Tristan and, differently and uniquely, in Dante’s poetry, the death of the beloved marked the culmination of eros. This eros postulates self-denial and sublimation for the sake of a higher achievement.Regardless of chivalry’s roots in medieval Europe, frustration can be a powerful ideal in non-Western cultures, too. One signal example might suffice. The Chinese literary classic, The Dream of the Red Chamber by Chan T’sao (ca. 1717–63), is the life story or Bildungsroman of a high prince who, after a [End Page 558] life of indulgence, decides to renounce the world and become an ascetic monk. 6 This problematic main character, Pao Yu, moves in the framework of Taoist and Confucian ideals, with the addition of some Buddhist religious traits. His final withdrawal from the world, however, which appears to family and society as a disappointing betrayal, obeys a psychological need for a frustration that represents a nobler achievement than the satisfaction of worldly ambition.The point of this essay is to sample a few cases of literary representations of idealized love while underlining their ideal and, at times, literal interconnections. I also mean to suggest... (shrink)

This paper responds to a piece of dialogue from Flora Nwapa’s novel Women are Different, in which Comfort mockingly says, “They took up the job voluntarily. Now you will soon tell us that they are celibate because of us.” There are two different interpretations of the use of “because,” and the claim is obviously false on only one of these.

Looking at representations of the Irish landscape in contemporary literature and the arts,this volume discusses the economic, political and environmental issues associated with it, questioning the myths behind Ireland's landscape, from the first Greek descriptions to present day post Celtic-Tiger architecture.

A distinguished group of authors reflects on problems currently enlivening the space shared by philosophy and literary theory in a series of chapters that range in scope from Plato to postmodernism.

Relationalität und Selbstdiskursivierung in den lebens -- und Sozialwissenschaften -- Selbstreflexion und Relationalität in der literatur.

M'illumino/d'immenso - I'm lit/with immensity is Geoffrey Brock's translation of Giuseppe Ungaretti's poem Mattina. In the poem's minimalism, Ungaretti points to the maximal: the richness of poetry's expressive possibilities and the power of thinking in literature. This book addresses the fascination of readers to transcend the boundaries of their own in fiction, and literature's capacity, according to Kant, even to evoke, with the help of the development of aesthetic ideas, representations that exceed what is empirically and conceptually graspable (...) - in case studies about myths of creativity, images of death and the beyond after the 'death of God', of the soul, of melancholy as the dark ground of genius, of metamorphoses of both evil and good, of ecstasy, of the economy of self-sacrifice, of the art of resistance, and, among others, about figurations of biography and the portrait as approaches to singularity, what is particular and cannot be fully subsumed to any universality. (shrink)

The notion of aesthetic illusion relates to a number of art forms and media. Defined as a pleasurable mental state that emerges during the reception of texts and artefacts, it amounts to the reader's or viewer's sense of having entered the represented world while at the same time keeping a distance from it. Aesthetic Illusion in Literature and the Arts is an in-depth study of the main questions surrounding this experience of art as reality. Beginning with an introduction providing (...) historical background to modern discussions of illusion, it deals with a wide range of theoretical issues. The collection explores the nature and function of the aesthetic illusion as well as the role of affect and emotion, the implications of aesthetic illusion for the theory of fiction, the variable forms of aesthetic illusion and its relationship to other components of aesthetic response. Aesthetic Illusion in Literature and the Arts brings together a team of scholars from philosophy, literature and art and presents an interdisciplinary examination of a concept lying at the heart of contemporary aesthetics. (shrink)

This paper finds its origin in a debate between Georges Bataille (1897-1962) and Octavio Paz (1914-1998) on what is central to the idea of eroticism. Bataille posits that violence and transgression are fundamental to eroticism, and without prohibition, eroticism would cease to exist. Paz, however, views violence and transgression as merely intersecting with, rather than being intrinsic to, eroticism. Paz places focus on imagination, and transforms eroticism from a transgressive, to a ritualistic act. Eroticism thus functions as an intermediary, turning (...) animal sexuality into ceremony and rite. In this paper, I argue that Paz and Bataille are not fundamentally at odds in their conceptualisation of eroticism. Instead, Paz redefines the locus of eroticism by subverting its unsettling aspects. His conception of eroticism gives precedence to the imagination, which in itself is an act of violation. Imagination transgresses normal life, but this transgression – the violation of the habitual world – also introduces a glimpse of the numinous that Paz associates with belongingness. The paper further explores eroticism, as this is perceived today, and argues that it ultimately eliminates the threshold marked by transgression. The rise of the contemporary pornographic society is marked by a loss of imagination and transcendence, which ultimately reduces the subject into a mere automaton that demands instant gratification. (shrink)

This volume contains a selection of nine essays with an interdisciplinary perspective. They were originally presented at the Sixth International Conference on Word and Music Studies, which was held at Edinburgh University in June 2007 and was organized by the International Association for Word and Music Studies (WMA). The contributions to this volume focus on self-reference in various systematic, historical and intermedial ways. Self-reference - including, as a special case, metareference (the self-conscious reflection on music, literature and other medial (...) concerns) - is explored, among others, in instrumental music by Mozart, Mahler and Satie, in the structure and performance of (meta-)operas, in operatic adaptations of drama and filmic adaptations of opera, as well as in intermedial novelistic references to music. The essays cover a historical range from the 18th century to the present and are of interest to literary and opera scholars and students, musicologists as well as all readers generally interested in medial self-reference and intermediality studies. (shrink)

Bringing allegory into the light from the neglect into which it fell means focusing on the wondrous heights of the human spirit in its significance for culture. Contemporary philosophies and literary theories, which give pre-eminence to primary linguistics forms (symbol and metaphor), seem to favor just that which makes intelligible communication possible. But they fall short in accounting for the deepest subliminal founts that prompt the mind to exalt in beauty, virtue, transcending aspiration. The present, rich collection shows how allegory, (...) incorporating the soaring of the spirit, offers highlights for culture, with its fluctuations and transformation. This collective effort, rich in ideas and intuitions and covering a vast range of cultural manifestations, is a pioneering work, retrieving the vision of the exalted human spirit, bringing together literature, theatre, music and painting in a variety of revealing perspectives. The authors include: M. Kronegger, Ch. Raffini, J. Smith, J.B. Williamson, H. Ross, M.F. Wagner, F. Divorne, L. Oppenheim, D.K. Heckerl, N. Campi de Castro, P. Saurez Pascual, M. Alfaro Amieiro, H. Fletcher Thompson, R.J. Wilson III, and A. Stensaas. For specialists, students and workers in philosophy, comparative literature, aesthetic phenomenologists and historians of art. (shrink)

Poetry of life in literature and through literature, and the vast territory in between - as vast as human life itself - where they interact and influence each other, is the nerve of human existence. Whether we are aware of it or not, we are profoundly dissatisfied with the stark reality of life's swift progress onward, and the enigmatic and irretrievable meaning of the past. And so we dramatise our existence, probing deeply for a lyrical and heartfelt yet (...) universally valid sense of our experience. It is in great works of literature that we seek those hidden springs that so move us. It is in honour of this search that this collection focuses on the creative imagination at work in literature and aesthetics. (shrink)

Are emotions, feelings, sentiments not the stuff of literature? There it is where they project their inner logic of aesthetic transmutation; there, beyond the instrument of language that they command. This collection explores how the lyrical virtualities of life-experience and the elegiac style in literature share a common core, lifting the human significance of life from abysmal vitality to esoteric heights, from abysmal grief to a serene reconciliation with destiny. The elegiac sequence in the play of emotions, feelings (...) and sentiments brings together life and literary creativity in its transformatory power. (shrink)

Chapter 14. Andrea Timár engages with literary representations of the experience of perpetrators of dehumanization. Her chapter focuses on perpetrators of dehumanization who do not violate laws of their society (i.e., they are not criminals) but exemplify what Simona Forti, inspired by Hannah Arendt, calls “the normality of evil.” Through the parallel examples of Dezső Kosztolányi’s Anna Édes (1926) and Doris Lessing’s The Grass is Singing (1950), Timár first explores a possible clash between criminals and perpetrators of dehumanization, showing (...) class='Hi'>literature’s exceptional ability to reveal the gap between ethics and law. Second, she examines novels focalized through perpetrators and the difficult narrative empathy they provoke, arguing that only the critical reading of these novels can make one engage with the potential perpetrator in oneself. As case studies, Timár examines Daniel Defoe’s Robinson Crusoe (1719), which may potentially turn its reader into an accomplice in the process of dehumanization, and J.M. Coetzee’s Foe (1986), which puts on critical display the dehumanizing potentials of both aesthetic representation and sympathy as imaginative violence. Third, she reads Jonathan Littell’s The Kindly Ones [Les Bienveillantes, 2006], which can make the reader question, through the polyphony of the voice of its protagonist, the notions of narrative voice and readerly empathy, only to reveal that the difficulty involved in empathizing with perpetrator characters lies not so much in the characters’ being perpetrators, but rather in their being literary characters. Eventually, Timár briefly touches upon the problem of the aesthetic and the comic via Nabokov’s Lolita (1955) to ask whether one can avoid some necessarily dehumanizing aspects of humor. (shrink)

Angus Fletcher is one of our finest theorists of the arts, the heir to I. A. Richards, Erich Auerbach, Northrop Frye. This, his grandest book since the groundbreaking Allegory of 1964, aims to open another field of study: how thought--the act, the experience of thinking--is represented in literature. Recognizing that the field of formal philosophy is only one demonstration of the uses of thought, Fletcher looks for the ways other languages (and their framing forms) serve the purpose of certain (...) thinking activities. What kinds of thinking accompany the writing of history? How does the gnomic sentence manage to represent some point of belief? The fresh insights Fletcher achieves at every turn suggest an anatomy of poetic and fictional strategies for representing thought--the hazards, the complications, the sufferings, the romance of thought. Fletcher's resources are large, and his step is sure. The reader samples his piercing vision of Milton's Satan, the original Thinker, leaving the pain of thinking as his legacy for mankind; Marvell's mysteriously haunting "green thought in a green shade"; Old Testament and Herodotus, Vico and Coleridge; Crane, Calvino, Stevens. Fletcher ranges over the heights of literature, poetry, music, and film, never losing sight of his central line of inquiry. He includes comments on the essential role of unclear, vague, and even irrational thinking to suggest that ideas often come alive as thoughts only in a process of considerable distress. In the end he gives us literature--not the content of thought, but its form, its shape, the fugitive colors taken on by the mind as represented in art. (shrink)

This collection emphasizes a cross-disciplinary approach to the problem of scale, with essays ranging in subject matter from literature to film, architecture, the plastic arts, philosophy, and scientific and political writing. Its contributors consider a variety of issues provoked by the sudden and pressing shifts in scale brought on by globalization and the era of the Anthropocene, including: the difficulties of defining the concept of scale; the challenges that shifts in scale pose to knowledge formation; the role of scale (...) in mediating individual subjectivity and agency; the barriers to understanding objects existing in scalar realms different from our own; the role of scale in mediating the relationship between humans and the environment; and the nature of power, authority, and democracy at different social scales. (shrink)

Through the examination of anti-psychiatric theory and literary texts, this timely and thought-provoking volume explores the possibilities of liberating our habitual patterns of perception and consciousness beyond the confines of a capitalist era. In Post-Capitalist Subjectivity in Literature and Anti-Psychiatry, Skott-Myhre asks the question, how might we be different if we didn't live in a capitalist society? By drawing on Marxist and post-Marxist theory, and conducting nuanced analysis of the professional writings of anti-psychiatrists including Basaglia and Laing, and the (...) work of fiction writers Kafka and Garcia Marquez, the text identifies alternative conceptualizations of the self. Focusing in particular on portrayals of institutions and the family, Skott-Myhre proposes that these social systems offer new modes of reading the world and ourselves which will transform social organization and free subjectivity from dominant capitalist structures. This transdisciplinary text responds to a revitalized interest in alternatives to traditional psychology, an interest in life beyond capitalism, and the crisis in the traditional family. Post-Capitalist Subjectivity in Literature and Anti-Psychiatry will offer timely reading for graduate students, researchers, and scholars in the fields of cultural studies, psychology, philosophy, family studies, and interdisciplinary studies. (shrink)

This paper offers a reading of Hartmann’s philosophy of literature from the perspective of contemporary aesthetics. In particular, I focus on his defense of the truth-value of literary works. After outlining the main concern of the paper (sect. 1), I place Hartmann’s view within the context of current aesthetic cognitivism (sect. 2). In the following three sections, I discuss Hartmann’s account, examining his critique of the thesis that literature is cognitively valuable because it transmits factual truths (sect. 3); (...) his defense of the view that literature discloses life (sect. 4); and the link between cognitive value and the ontology of the literary work (sect. 5). Finally, I discuss Hartmann’s focus on the concept of “truth” in the light of recent debates on knowledge of “what it is like” and on “understanding” (sect. 6). (shrink)

In the deep joint work Deleuze-Guattari there is the demand of consider it as a political theory of literature, a literary politics. The following paragraphs, to some extent respond to that demand, enroll the Deleuze-Guattari micropolitics in a concatenation between the revolutionary and artistic machines, in this case, literary. Considering this conjecture, in this article we propose to address the relationships between the concept of minor literature, the spatial dynamics and the informative order.

This article examines the controversial issue of blasphemy in literature from the viewpoint of reception inside and outside the academia. The thesis of the article is that blasphemy in literature, though inherently related to religion and language, has a plurality of connotations and interpretations (dissidence, intertextuality, critique of colonialism, discursive strategy, alterity/Otherness, ethnicity, subversive text). Consequently, blasphemy in literature is an incentive for fruitful discussions regarding tolerance, freedom of expression, and the re-situation of the (post)modern self in (...) today’s world, dominated by an uncanny admixture of secular and religious values. (shrink)

To take into account the growing importance of this extraterritoriality paradigm reassessing the idea of territory in literature, culture and languages, this book offers an interdisciplinary and plurilingual journey through four centuries, four continents and a dozen languages.